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OUSMANE SEMBENE: THE LIFE OF A REVOLUTIONARY ARTIST

by Samba Gadjigo, Mount Holyoke College

(an introductory outline of the forthcoming authorized biography of Ousmane Sembene of the same title)

"Of all African film directors, Sembene is the first to confer value to images." — Med Hondo

Crossing the geographical and national borders of his native Senegal, Ousmane Sembene's literary and cinematographic output places him today as the "father" of African films and as one of the most prolific "French-speaking" African writers in this first century of "creative" writing in francophone Africa. From the publication of his first poem in Marseilles in 1956, at age thirty three, to Guelwaar (1996), his lastest published novel, Sembene has produced five novels, five collections of short stories, and directed numerous films, four shorts, nine features, and four documentaries He has granted hundreds of interviews to teachers, researchers, students, and to dozens of film and literary critics from around the world. Scholarly articles on his work have appeared in scores of international journals. Particularly here, in the US, publications and invitations to university and college campuses almost equal those of Wole Soyinka, and Chinua Achebe. Of Sembene's ten published literary works, seven have been translated into English, and all of his films are subtitled in English, French, German, Japanese, and Chinese. In American universities, the attraction to Sembene's work crosses disciplinary boundaries. His literary work has entered the curricula of many high schools and universities throughout Africa. Tens of Mémoires de maîtrise ( MA dissertations) and doctoral theses have been devoted to Sembene's literary and film work.

Undoubtedly, in Africa, more ostensibly in Burkina Faso (the African capital of motion pictures), Ousmane Sembene's name has also captured the "popular" imagination. Some five years ago, while attending a festival in Ouagadougou, I discovered a restaurant menu labeled "Ousmane Sembene", and I smiled at a green and black-painted taxi cab self baptized Le docker noir (1956), the original title of Sembene's first published novel (published in English as The Black Docker in, 1987). In the US, in 1996, his literary and film work also inspired Florence Ladd, then director of Radcliffe College's Bunting Institute in Cambridge, Massachusetts, with her novel Sarah's Psalm, recognized by Boston Magazine as " a story (that) has the making of a modern myth. (Emphasis mine). Set in the 1960's in Cambridge and in Dakar Senegal ( that space sometimes expanding to Europe, and the French Riviera), Sarah's Psalm tells the story of Sarah Stewart, a young black Harvard graduate during the bourgeoning of the Civil Rights Movement and the first re-discovery of Africa by many African American intellectuals and cultural elites. Although Ms. Ladd warned that all characters in her novel were fictional, for her main character, the yearning to go to Africa, was a journey of self discovery, and arose from reading and viewing the work of a character named Ibrahim Mangane, a Sembene prototype. Not only has Sembene's work provided the African American Diaspora with an "alternative" knowledge of Africa, he is also among the most sought after African artists in the Caribbean. The University of the West Indies, at Cave Hill, Barbados was honored by his presence in the fall of 2000. I helped arrange for that event in the course of my one-year tenure at UWI, in 1999-2000. During my last visit to Guadeloupe in the Spring of 2000, I was happy to hear from the owner- managers of Librairie Jasor, the main literary outlet in the French West Indies, that they want to host Ousmane Sembene and to screen his work. During a literary conference organized by the University of Guyana, in Georgetown in the Spring of 2000, when I showed Black Girl (the film that first introduced Sembene to an international audience of writers and artists attending the 1966 Festival Mondiale des arts Nègres held in Dakar), the overflow audience asked for and was granted a second showing, for the same night. In many countries in Africa, high schools, libraries, and amphitheaters bear his name. Even in Paris, where his work is far from meeting official approval, in 1998, a whole week was devoted to a retrospective of Sembene's work, masterminded and organized by Mauritanian film maker Med Hondo who once told me that "Sembene is the first African director to confer value to African images." In 1996, a week-long screening of Sembene's work at the University of Victoria, in British Columbia, brought together fervent crowds of students, film critics, and other cultural workers. Sembene is also arguably the most interviewed Senegalese and African film director on the globe.

Born in 1923 in Casamance, southern Senegal, where his "crazy" fisherman father had migrated from Dakar around 1900, Ousmane Sembene has, from a marginalized and a very modest beginning, inscribed his name in world history. Expelled from school in 1936 for indiscipline, his formal education would never go beyond middle school. Also unable to take on his father's trade because he was always seasick, in 1938 he was sent to his father's relatives in Dakar, headquarters of the territories of French West Africa. From 1938 to 1944 he worked as an apprentice mechanic and a bricklayer. Although he was denied an opportunity of a formal education, Sembene developed a love of reading - mostly comics - and discovered cinema in the segregated movie houses of Dakar. He spent his days at work as a manual laborer and his after work hours either reading, watching movies or, along with his neighborhood mates, attending evenings of story telling, wrestling, and other "traditional" Senegalese cultural events . As a French citizen, in 1944, like many young Africans of his generation, he was called to active duty to liberate France from German occupation and subsequently was dispatched to the colony of Niger as a chauffeur in the 6th colonial infantry unit. Upon being discharged in 1946 at the end of the war, he went back to Dakar in the midst of charged social and political activism. That same year, for the first time, he took membership in the construction worker's trade union and witnessed the first general workers' strike that paralyzed the colonial economy for a month and ushered in the nationalist struggle in French Africa. In 1947, unemployed in the thick of a war-ravaged colonial economy, Sembene left Dakar in search of a better living and also for the opportunity to feed his unquenchable thirst for learning- "apprendre à l'école de la vie."(to learn in the school of life), as he put it many times. He migrated to France and lived in the Mediterranean city of Marseilles until 1960, the year Senegal was granted its political independence. As an black African docker who "knows" how to read and write, in Cold War Marseilles, he was soon identified by labor union leader Victor Gagnère ("papa Gagnere", as Sembene affectionately referred to him) and enrolled in the CGT ( Confederation generale des travailleurs ), the largest and most powerful left wing workers' union in post-war France. After back-breaking work unloading ships during the day (containers did not exist then), at night and on weekends Sembene enthusiastically attended seminars and workshops on Marxism, joined the French Communist Party in 1950, and the MOURAP (Movement against racism, anti Semitism and peace) in 1951, a political organization born of the resistence movement during WWII. The same year, while unloading a ship, Ousmane Sembene broke his backbone. After a long recovery and now unable to sustain the physical effort required by the work of a docker, with the support of his comrades, he was assigned a post as (aiguilleur), a switchman. A new opportunity was opened to Sembene to rise from a laborer who could read and hardly write, into a well-rounded intellectual, an exceptionally cultured humanist. As his comrade and friend Bernard Worms put it: "He rose to the status of the intellectual aristocracy of the labor movement; he become "un honnête homme." He spent most of his free time roaming public libraries, museums, theater halls, and tirelessly attending seminars on Marxism and Communism. He read everything: literature on Marxist ideology, political economy, political science, works of fiction, and history. During those Marseilles years with the passion and obsession of a convert to a new religion, Sembene also participated in the protest movements organized by the French Communist Party against the colonial war in Indochina (1953) and the Korean war(1950-1953). He also openly supported (and later wrote about) the Algerian National Liberation Front (FLN) in its struggle for independence from France (1954-1962), and he vehemently protested against the Rosenberg

trial and execution in the United States in 1953. Dreaming of the universal freedom and brotherhood mirrored by communist ideology, Ousmane Sembene also worked to educate and liberate the community of mostly illiterate and "apolitical" African workers shipwrecked at the margins of French society. It was also in the midst of such an intense political activism that Sembene discovered other communist artists and writers: Richard Wright, John Roderigo (Dos Pasos), Ricardo Neftali Reyes (aka Pablo Néruda), Ernest Hemingway, Nazim Hikmet (Turkey), the works of French Communist writer and resistance organizer Paul Eluart, and, Jean Bruller (Vercors) co-founder of Les Editions de minuit (devoted to the publication of works dealing with resistance), and author of the classic work about the German Occupation and the Resistance, Le silence de la mer (1942) (Silence of the Sea). He also came into contact with the works of the Jamaican Communist writer Claude McKay (whose 1929 novel Banjo would influence his first novel) and the novels of Jacques Roumain, another Communist writer from Haiti and author of the classic Masters of the Dew (1947). Master's of the Dew 's communist vision provided most of the powerful images in Sembene's O pays, mon beau peuple (1957). In Marseilles he also became involved with the international Communist youth organization Les Auberges de jeunesses (Youth Hostels) and discovered the Communist theater, Le Theâtre Rouge.

However, as Sembene struggled with millions of others for revolutionary change at the international level, he also felt alienated by the quasi absence of "revolutionary" artists and writers from Africa, the voices of the masses of workers, women, and all those exploited and silenced by the combined external forces of colonialism and the internal yoke of African "tradition". Through activism, Sembene proved that he was deeply aware of the urgent need for political and social change in Africa, but unlike many of his generation ( Sékou Touré in Guinée, Patrice Lumumba in Belgian Congo, Kwame Nkrumah in Ghana, and Amilcar Cabral in Bissau Guinea who chose the political arena) he, like Palestinian writer Edward Said, strongly believed and still believes that the struggle against colonialism is not solely a fight over who should own the land but it also a contest over who should have the right to represent whom. In the historical context and contest against colonization, for Sembene , the terrain of art and cultural representation are a sine qua none for the freedom and revival of African societies. "L'Afrique d'hier me fascine, L'Afrique de demain m'exalte" ("The Africa of the past fascinates me; the future Africa excites me") says Sembene. The need to invest in Africa, to contribute to a better self-awareness of the past, present, and future Africa became a passion for him. Africa became what Albert Camus called "Une valeur", that which transcends one's own life; that for which one is ready to give his/her life, like South Africa's Nelson Mandela who once stated: "Democracy is a value I live for, and if need be, for which I am prepared to die." Thus, since 1956, while still a dock worker, and upon his return to an independent Senegal in 1960 until today, Sembene's daily life has been devoted to the production and dissemination of emancipating and restorative images for those Frantz Fanon named the "the Wretched of the Earth", those Africans disenfranchised and marginalized in their own society, but also whose unsung struggles are a Daily Heroism (The title of Sembene's latest trilogy of films.) Yet for Sembene, in both literature and film, the work of "art" should not be a mere re-presentation of "reality" "une pancarte" (a political banner), as Sembene terms it. It is a work of art, a symbolic form of representation. In order to capture the imagination of the people they "speak" to and for , those symbols first must be intelligible to them. They must stem from and reflect their cultural universe. What is at work in Sembene's literary and film creation is an endeavor to capture and project a genuine African film language and aesthetics, that would also entertain a "dialogical" relationship with other world cultures.

Sembene the Writer

Nowadays, in the United States and around the world, Sembene is best known as a filmmaker. However, it should be clear that even Sembene's use of cinema is nothing but a compromise gesture to bring home what the widespread illiteracy in the continent would not allow him to accomplish in his literary work. It is through literature (or rather, it is because he failed to communicate with African "masses" through literature) that Sembene came to film making, as a last resort. Indeed, most of his film works (except Xala, 1973, and Guelwaar, 1993) are adaptations of earlier novels or short stories. Xala and Guelwaar are rather a re-writing of the original film script's political, social, and cultural affirmation. Ousmane Sembene started his artistic career as a poet, a short story writer, an essayist and a novelist. His first published work was Liberté (1956), a long poem in which after an extended panegyric on the a vast inventory of human accomplishment in the area of art, the poet also launched into a heartbreaking lament over his estrangement from universal beauty. The long poem closes on a dream of a free Africa whose children will redirect rivers and build monuments to its beauty. This "programmatic" poem published in Cahiers du sud, a Marseilles-based left-wing review then directed by André Gaillard, also contains the contour of Sembene's future work.. His novels and short stories since 1956 are: Le docker noir (1956) (The Black Docker), his loosely reconstructed experiences as an black African dockworker in Marseilles; O pays, mon beau peuple (1957) is almost, thematically, a sequel to the 1956 novel. Here the former soldier, after experiencing the war and sojourning through Europe, returns to his native Casamance and in a manner reminiscent of Romanian Communism, spearheaded an agrarian reform (following the model of the Kokhoze, in Soviet Union, but here directed and controlled by farmers themselves) in order to promote economic, political, and social change for the farmers. Les bouts de bois de dieu (1960) (God's Bits of Wood) is a masterpiece of fictionalized history, conceived from Marxist ideology and yet Sembene's first genuinely "African" story. It was a move away from the canons of the European bourgeois novel of the nineteenth century. This third novel, a fictional recreation of the second and most comprehensive French West African railroad workers strike against their colonial bosses in 1947 was followed in 1962 by Voltaïque (Tribal Scares), a collection of short stories. In 1963, he released L'harmattan ( a political epic of the later years of the 50's, in the final struggle against colonial occupation). Le mandat suivi de blanche genèse (1966) (The Money Order with White Genesis), was, to be sure, a first presentation of the post-colonial situation in Senegal. Afterwards came Xala (1973), a sarcastic satire of the new and "impotent" Senegalese bourgeoisie, and Le dernier de l'empire (1981) (The Last of the Empire) which laid bare the internal contradictions and subsequent demise of an impotent and narcissistic political leadership. In 1992, a collection of two stories Niiwam et Taaw explored the despair of the Senegalese peasantry and urban youth. Guelwaar (1996), Sembene's latest novel, an adaption of a 1993 feature film (reversing the relationship between literature and film), warned against the dangers of religious fundamentalism while showing the ironies and humiliations if a nation relies on international aid for its own economic survival . In Sembene's own life, reading and writing took center stage. There has been a long love affair (literally, and figuratively) between Sembene and literature. He once fell in love and married a literary scholar who specialized in his work. Sembene's rich literary imagination fed on a vast knowledge of world literature and its masterpieces. The success of his literary work around the world flows from his own phenomenal love of reading. In addition to Sembene's ten published volumes, there are also dozens of manuscripts, some waiting for that spark that will bring

them to the public's attention and thus to life. Sembene also has this infuriating and deliberate habit of burning many of his papers.

Sembene the Film Director

Yet, since 1962, upon returning to Senegal and having visited many other countries in the region, Sembene had to face the endemic level of illiteracy among his intended audience and the paralyzing effect it was having on the dissemination of his work. Already in 1938, when movie going had started to become his passion, Ousmane Sembene realized the magical power of cinema in conveying messages. Ironically, the spark came from the viewing of Leni Riefenstahl's Olympiad, a documentary on the 1936 Munich Olympic games by one of Hitler's favorite filmmakers. Touring the continent in 1961, at the moment he was sailing along the Congo River, and in the middle of the short-lived vitality of the Patrice Lumumba era, Sembene is said to have had a vision: landscapes, people, movements and sounds to which no written document could do justice. Then it dawned on him the necessity and desire to make movies - the technology and art of motion, color, and sound. He was not thinking of movies for escapism and dream making in the Hollywood model and paradigm, but movies as "école du soir" (night school). His efforts became aimed at educating the people, in the language of the people, following in the millennia-long tradition of many African oral cultures where, at night, people gathered around a wood fire and listened to stories told by either the griot (a professional storyteller) or by the elders. Although to this day Sembene has a strong personal preference for literature, he also sees motion picture combined with synchronized sound as a necessity, the only medium that could reconcile the African artist with the millions of peasants, workers, and women, whom Aimé Césaire called "les bouches qui n'ont pas bouches" (those mouths without a mouth). Sembene was nearly 40 when he decided to seek scholarships and go back to Europe and learn the technique of film making. In the context of the Cold War, the Soviet Union (hoping to extend its influence over Africa) was eager to oblige. Thus, in 1962, Sembene spent a year learning cinematography at the Gorki Studios in Moscow, under the tutelage of Soviet director Marc Donskoï. At the end of 1962, he returned to Senegal with his knowledge and an old Soviet camera. In 1963, with Borom Saret , his first short, Sembene ushered Senegal and Africa into the landscape of world cinema, albeit 68 years after the invention of cinematography, and 63 years after the first Lumiere brother's L'arroseur arrosé was screened in Senegal. His film work would transform Africa from a mere consumer of images made elsewhere to that of a "producer" of its own images. As Borom Saret shows, Sembene was urgently concerned with pointing his camera on the present day, post colonial Senegalese society whose spatial mapping reflects the internal conflicts between the old and the new, between the powerful and the powerless, the changing of the old markers of identity. In 1964, Niaye (an adaptation of the short story White Genesis) a story of incest in a village noble family documented the withering of old moral values. These first two shorts were followed by La noire de... (Black Girl) in 1966, a first and prize-winning feature that put Africa on the map of world cinema. However, it was with Mandabi (The Money Order) in 1968, that Sembene's dream to reconnect with Africa's masses came through. For the first time, indeed, an African filmmaker was experimenting by using an African language (Wolof, the dominant language in Senegal), hence setting a new trend which would be followed by all film makers on the continent. In 1969 he released two shorts: Taumatisme de la femme face à la polygamie (Women and the Trauma of Polygamy), and Les dérives du chômage (The Afflictions of Unemployment). Two years later, in 1971 Sembene would adapt the short story Tauw and direct Emitaï, his first historical film, a dramatization of the forced conscription of Senegalese soldiers during WWII, followed by Basket Africain aux jeux olympiques de Munich, RFA (African Basketball in the Munich Olympic Games) in 1972, and L'Afrique aux Olympiades

(Africa at the Olympic Games) in 1973. In 1974, Xala, an adaptation of his earlier 1973 novella would be released, followed by a controversial and internationally acclaimed historical film Ceddo, a re-writing of the history of Islam in Senegal. Camp de Thiaroye (1988) a sequel to Emitaï, centers around the massacre by French authorities of returning African soldiers from WWII.The award winning Guelwaar, une légende du 21 ème siècle (Guelwaar, a Legend of the 21st Century) would be released in 1993. Sembene would close the century with two films devoted to the struggle of African women: Héroisme au quotidien (Daily Heroism) in 1999, and Faat Kine in 2000 and open the new century with Moolaade in 2003 a crusade against a century-old practice of female circumcision which still plagues more than twenty-five out of the fifty -four African states recognized by the United Nations.

Importance of Sembene's Film Work As can be seen from this brief presentation, Ousmane Sembene's forty year film work bears an unparalleled social and artistic significance in the context of both world and African cinema. At the international level, Sembene has been unequivocally recognized as the father of African cinema and his has received countless awards and distinctions. His images are intended not only for entertainment and profit (Sembene adheres to Lenin's prescription that "An artist must make money in order to live and work, but not live and work in order to make money"), but rather as an educational tool. His work is aimed at promoting freedom, social justice, and at restoring pride and dignity to African people. To reach such a goal, Sembene seeks first to "indigenize" the medium by resorting first to the use of African languages (Wolof and Diola, two Senegalese languages, and Bambara, a language spoken in Eastern Senegal, in Mauritania, Mali, Burkina, and Côte d'Ivoire in Moolaade) Secondly, this primary emphasis on language allowed him to specify his public : "Africa is my "audience" while the West and the "rest" are only targeted as "markets". Thirdly, he borrows from the rich heritage of African oral narratives, handed down by the griots and rejecting a mere imitation of Hollywood's narrative techniques, Sembene's cinema ushered in a genuinely African film aesthetics. "We will never be Arabs or Europeans; we are African", Sembene likes to philosophize. Finally, bent on educating and on liberating the disenfranchised, Sembene's cinema uses the tools provided by Marxist analysis and the passion of a visionary who profoundly believes, like Antoine de Saint-Exupery's character, Riviere, (Vol de nuit ; Night Flight) that only creation gives meaning to life. Counter to the hegemonic"official" history of Senegal, produced by its local elite, Sembene's filmography, which critics have perceived as "A call to action" has given voice to the millions of marginalized and voiceless African peasantry, its workers, women, and children, while often putting him at odds with his country's powerful. Indeed, most of Sembene's films have been either banned or censored by former president Leopold Senghor's regime. Moreover, since Camp De Thiaroye (1988), through Guelwaar (1993), Faat Kine (2000), and Moolaade (2003), Sembene's film work has taken on and fulfilled a manifold objective that, symbolically, goes well beyond the strict realm of art as symbolic representation. Indeed since 1957, with the independence of Nkrumah's Ghana, and the creation of The Organization of African Unity (OAU) in Addis Ababa in 1963 by thirty newly independent states (and the fifty-three nations making up the current African Union), Africa's political leaders have failed to reach the triple objective of putting an end to its "balkanization" by political unity, of performing its economic integration, nor of ending its technological dependence on the West. Indeed, for the financing of Camp De Thiaroye, Sembene, without giving up on the vertical model of cooperation with Europe (North-South axis), took the fresh approach of a hitherto uncharted model of a horizontal, inter-African (South-South axis) cooperation. For the financing of the film Sembene performed a symbolic "economic integration" through a co-production budget between SNPC (Senegal), ENAPROC (Algeria), SATPEC (Tunisia), and his own production company (Filmi Domireew/Filmi Kajoor). For the first time, Sembene also called on the services of a Tunisian lab for post-production of his film. Moreover, a film about a colonial massacre (the killing by French officers of African soldiers who returned from WWII, Camp Thiaroye ) also offers a unified approach to African history by also echoing the 1954 Setif colonial massacre that heralded the war of independence in Algeria. Although Guelwaar (1993) is a co-production with Galatee-Films, a French production company, its post-production was also done in Morocco. As for Faat Kine, the production was the result of a truly international

cooperation (France, Germany, Switzerland, USA, Cameroon, and Senegal) and the post-production was again done in Morocco. With Moolaade, for the first time, Sembene has made a film outside Senegal's national borders, in Burkina Faso, seventeen kms, east of the border with Côte d'Ivoire, and in Bambara (a language spoken in eastern Senegal, in Mali, southern Mauritania, and, of course Burkina Faso). The technical crew was French (camera, sound, lighting), the set designer was from Benin, the production managers were from Burkina Faso and some machinists were from Senegal. The cast was selected by Casting Sud in Burkina Faso and includes Malians and Burkinabe as well as actors from Côte d'Ivoire. Thus, in his project as an artist-film maker, Ousmane Sembene realized the dream of a unified Africa, which its political leaders still have yet to produce.

Sembene's Filmography

1963 - BOROM SARRET - short 1964 - NIAYE - short 1966 - LA NOIRE DE… (Black Girl) - feature 1968 - MANDABI (The Money Order) -feature 1969 - TAUMATISME DE LA FEMME FACE A LA POLYGAME - documentary 1969 - LES DERIVES DU CHOMAGE - documentary 1971 - TAUW - short 1971 - EMITAI - feature 1972 - BASKET AFRICAIN AUX JEUX OLYMPIADES - documentary 1973 - L'AFRIQUE AUX OLYMPIADES -documentary 1974 - XALA - feature 1976 - CEDDO - feature 1988 - CAMP DE THIAROYE - feature 1993 - GUELWAAR - feature 1999 - HEROISME AU QUOTIDIEN - short 2000 - FAAT KINE - feature 2003 - MOOLAADE - feature

#Ousmane Sembène #Senegal #Cinema #Senegalese Cinema

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nurtelo · 1 year

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Check out this listing I just added to my Poshmark closet: Dockers Men's Comfort Khaki Relaxed Fit Stretch Pant Black Size 44 x 30 Work New.

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rwise · 6 years

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Levi’s is restoring its iconic power by using storytelling to put it back in the heart of pop culture all over the world

A brand that begins with a legendary story

In the midst of the California gold rush Levi Strauss had the idea that the sure money was not in panning for gold but in selling stuff to the men combing the hills and rivers in search of fortune and fame, specifically with well-made trousers in heavy canvas. One thing about those gold seekers, they didn’t have time for anything that wasn’t hunting for gold. They slept just long enough to stay alert, ate hurriedly and sorely resented any interruption to their work schedule - including having to repair a rip in their trousers. So Strauss had a simple idea: put copper rivets in the corners of the pockets, making them virtually indestructible. Miners paid top dollar for these sturdy, riveted denim trousers and the Levi Strauss brand of blue jeans was born. They didn’t just corner the market. They created it - out of whole cloth. Their trousers, overalls and lined coats became a staple of outdoor and frontier life.

One thing leads to the next...

More than 150 years later, denim now accounted for about 7% of all apparel sales and Levi-Strauss was no longer the only brand on the market but had done well to evolve with times and was a $4 billion global business, headquartered still in San Francisco, where it had all started. Typically the company had been run by lifers, but sometimes the leadership slots would be given over to outside “garmentos,” people who specialized in fashion, mass apparel and retail. The business was stagnant but the company’s board knew they had a powerful brand on their hands. So they tapped into the talent pool of the world’s historically greatest consumer brand builder and hired P&G veteran Chip Bergh to run the company. Chip insisted that the company have a clear brand strategy and a sound business plan. With his new head of brands, Jean Sey, they hired hot agency Wieden+Kennedy (who had birthed Nike) and when the crash of 2008 hit, W+K gave them “Go Forth,” a campaign that seemed more like “Occupy Wall Street” than true Levi’s. It didn’t do much for the brand and it didn’t have global appeal. What to do?

...and then comes back to the power of stories

It wasn’t until Chip meet James Curleigh that he finally grasped what the brand was all about and saw how to apply a great insight to a growth momentum strategy. Jim had reengineered the Salomon brand of skis by making the company stop thinking “ski equipment” market share and focus instead on their “share of mountain.” Salomon set its sights on mountain sports all year long: not just the downhill skiing but the cross country, the hiking, the climbing, the trekking. Salomon became a vibrant mountain sport company for which Adidas eventually paid $1 billion. Similarly, Levi’s would start thinking not share of jeans, but share of closet, which is why today, Levis Strauss & Co includes the Dockers and Denizen brands. But what were the jeans about? For they were the icon, the glue that holds the company together. Jim persuaded Chip that it was all about stories…

The story of people finding their true selves

Chip created a job for Jim, Brand President. Jim had the company look at the social and cultural history that surrounded jeans. After the miners, blue jeans were adopted by cowboys, who, as Marlboro would celebrate 75 years later, were living symbols of rugged independence. Then the bikers. Then the “rebels without a cause.” Then hippies. Then hipsters. Then start-ups. What did all of these cultural iconic lifestyles have in common? A desire to be true to themselves and a readiness to seize the day, trust their instincts, take action…to really be alive. They were all people who wanted their life to be a story, not a routine, not a calculation. In order for the brand to be ready for the next great generation of story seekers, it would have to think of itself as 150-year-old start up. It would have to live its own brand. And, slowly but surely, they began to realize that their new global brand idea would be: Live In Levi’s. They fired W+K and brought back FCB who had given them a soulful campaign years earlier, “the 501 Blues.” What would they do now with “Live in Levis”? And what kind of results could it deliver?

The purpose comes from the personality

The way Levi’s has executed the next chapter in its story is grounded in its brand personality and values. The brand purpose, finding your truest self, is deeply implicit in them. The brand personality is effortless cool. The brand values are authentic self-expression. The emotional benefit is feeling fully alive. So the key for the brand has been to trigger the telling of stories. Its reach and resonance would come from amplifying those stories around the world in all kinds of different cultures.

To trigger stories, you have to know your own

Levi’s found an amazing way to tell the story of its own authenticity and legendary past. It wouldn’t be fussy or boring. And it would trigger sales. They created a new line of clothing called “Authorized Vintage.” Levis takes vintage stock and reclaims it as theirs: inspected, cleaned, certified: lovingly prepared for a second life. This taps into the Millennial’s love of vintage clothing while at the same time taking Levi’s historical creds and turning them into a saleable product. Everybody wins.

True influencers are born storytellers

Levi’s isn’t interested in glossy Instagram “influencers” who are living advertising campaigns pretending to be your celebrity friend while adding you to the eyeballs they sell to their advertisers. Instead Levi’s, in concert with AKQA sought out people like music producer Caroline de Maigret, who have cool stories to tell, involving Levi’s most iconic mark, the 501s and who would be interested in talking about them in a global campaign called “We are 501.” (Link)

In the UK, supporting music - where new stories are being born

In the UK, Levi’s got behind music as a way of telling stories, creating culture, giving people something so powerful to believe in, so they can change their lives. They partnered up with music hero Skepta and created a youth music facility in Skepta’s hometown, Tottenham North London.

In Pakistan, Levi’s boldly backs the return of live music

There is something special and life-changing about live music. You’re there, under the spell of the musician, your life energy focuses into a beam and suddenly your craziest dreams and ambitions turn into something you’re really going to do. In that spirit, in 2017, Levi’s became a major backer for the return of the live Indie music scene in Pakistan, rebounding from Islamist harassment.

In India, Levi’s gives voice to women who want to shape their world

With 7 out of 10 women in India feeling that they don’t “measure up” to expectations concerning their appearance, and in a culture that pressures them with messages about how an Indian woman is supposed to look, Levis used its brand to become a projection of her most confident self, of, indeed, how she “shapes her world.” With social influencers that included a transgender model, a cancer survivor and a rape victim, the brand sharply contrasted itself with Indian stereotypes and, with zero paid media, obtained 10 million unique views in 2017 and a 22% sales increase in the Levis 300 “Shaping Series.” (Link)

In China, 2.6 million self-created ads in 2 weeks

Today’s 20-something style seekers in China had mostly tuned out Levi’s even though it had painstakingly built excellent mass distribution. Why not let this new generation make their own statement with the brand? Levi’s put together a platform on WeChat where they could select from different Levi’s and insert themselves into a fashion statement complete with their selection from a music library on TenCent QQ put together by Levi’s with a nod to its own values as a brand. The click-through on this was 50% higher than anything they had ever done. It generated 2.6 million co-created ads in just two weeks. It increased e-commerce sales 45% and total sales 15%.

In Malaysia, Levi’s redefines Chinese New Year

The fact is, Chinese New Year can be oppressive. Everyone feels obligated to send out a cavalcade of messages, head back home for the family reunions, get inspected by Grandma, eat traditional dishes…what if you’re young and cool and living in KL? Levi’s stepped forward with a cultural meme of #NewYearMyWay.

Bringing it all together, “Live in Circles” hits home

That moment when you’re in a club or at a really great party and you overcome your fear and you step into the middle of the floor and you get your groove on and everybody eggs you on and suddenly you feel free and loved…that’s what Levi’s celebrated in Live In Circles. Like Smirnoff, it connected with the Millennial’s love of living in a diverse and inclusive world where everyone comes together but remains exactly who they are. Inspiring and joyful, “Circles” hit YouTube’s top ten most watched commercials in 2017 with 22 million views and counting.

It’s working

Jim Curleigh joined Levi’s in 2014. “Live in Levis” kicked off in 2015. The campaign has gone glocal for two years now. More will be revealed later. But in 2017, Levi’s had its best year in over ten years. There’s something going on in this 150-year-old start-up that looks promising indeed. With the simplest of integration, an anthem – Live in Levi’s – and a clear grasp of the power of its brand personality and values, Levi’s is executing around the world with an astonishing mix of story-telling, product innovation, activation, co-creation and culture-specific messaging that shows just how much local can go into glocal.

#levi's

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phungthaihy · 4 years

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iheartmoosiq · 7 years

Audio

Turns out, Strange Talk’s Gerard Sidhu and Stephen Docker are electro house knights on top of being princes of synthpop and indie electronica. The Australian duo has launched a new project named Knightfall, inspired by French house legends Daft Punk. After working on nothing but Strange Talk for the past 7 years, the pair have decided to take a break to pursue their other love, French electro house, having grown up on a diet of Daft Punk, Justice, Sebastian, and Kavinsky. So here they are with sleek Watching Me, a fresh preview from Knightfall’s debut EP, VOLUME 1. Creamy seductive falsettos and dark riveting house create a The Weeknd meets Daft Punk like effect. The sexy thriller of a dance jam is available from iTunes, here. Stream prior singles Exodus and Speed Machine on Soundcloud, here.

#Knightfall #Strange Talk #Watching Me #electro house #electro #dark house #R&B house #RNB house #french house #french electro house #electronic #electronica #dance #EDM #producer #music #song #indie dance #indie electronic

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ryadel · 5 years

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Cloud Storage on-premise (e GDPR compliant) con NextCloud

In questo articolo parleremo di NextCloud, un innovativo sistema di cloud storage on-premise installabile gratuitamente su server Linux (o Virtual Machine o Container Docker) e dotato di funzionalità molto simili a quelle di Dropbox e Google Drive, pur con tutte le limitazioni del caso in termini di ridondanza e disponibilità. Rispetto ai competitor (primo tra tutti OwnCloud, di cui costituisce un fork, ovvero una evoluzione parallela del progetto), NextCloud dimostra una attenzione particolare verso la sicurezza, la privacy compliance e il GDPR, implementando una serie di tecnologie di data-encryption in-transit, at-rest e end-to-end al fine di assicurare un livello di sicurezza elevato: per questo motivo ha attirato immediatamente la nostra attenzione. A chiunque avesse bisogno di un ripasso su questi argomenti consigliamo, prima di addentrarsi nella lettura di questo articolo, di dare un'occhiata alla nostra guida al Cloud Storage SaaS e on-premise pubblicata qualche giorno fa.

Installazione

Nella prova che abbiamo fatto, abbiamo installato NextCloud su una normalissima macchina Linux CentOS 7 con web server NGINX e sistema di caching basato su FastCGI-cache. Si tratta di una modalità di configurazione particolarmente indicata per la maggior parte delle applicazioni web basate su PHP, da Wordpress a MediaWiki a Mantis Bug Tracker. L'intera procedura di installazione è durata pochi minuti, grazie all'ottima documentazione disponibile sul sito ufficiale. . Nel nostro caso, avendo a disposizione una macchina Linux CentOS, abbiamo seguito in modo pressoché letterale le istruzioni per CentOS, oon l'unica differenza di aver installato e configurato NGINX in luogo di Apache, senza incontrare problemi di sorta. Questi, in estrema sintesi, i principali passaggi effettuati: Installare una macchina virtuale CentOS 7 (minimal install). Installare una serie di prerequisiti necessari (unzip, curl, wget, mlocate, bzip2, etc.). > yum install -y epel-release yum-utils unzip curl wget \ bash-completion policycoreutils-python mlocate bzip2 Aggiornare CentOS e tutti i pacchetti installati durante l'installazione: > yum update -y Installare NGINX e impostarlo come servizio in esecuzione automatica all'avvio del sistema: > yum install -y nginx > systemctl enable nginx > systemctl start nginx Installare PHP e una serie di librerie e symlink necessari: > yum install -y centos-release-scl > yum install -y rh-php72 rh-php72-php rh-php72-php-gd rh-php72-php-mbstring \ rh-php72-php-intl rh-php72-php-pecl-apcu rh-php72-php-mysqlnd rh-php72-php-pecl-redis \ rh-php72-php-opcache rh-php72-php-imagick > ln -s /opt/rh/httpd24/root/etc/httpd/conf.d/rh-php72-php.conf /etc/httpd/conf.d/ > ln -s /opt/rh/httpd24/root/etc/httpd/conf.modules.d/15-rh-php72-php.conf /etc/httpd/conf.modules.d/ > ln -s /opt/rh/httpd24/root/etc/httpd/modules/librh-php72-php7.so /etc/httpd/modules/ > ln -s /opt/rh/rh-php72/root/bin/php /usr/bin/php Configurare PHP-FPM nella modalità FastCGI-cache seguendo le istruzioni descritte in questa guida. Installare MariaDB e impostarlo come servizio in esecuzione automatica all'avvio del sistema: > yum install -y mariadb mariadb-server > systemctl enable mariadb.service > systemctl start mariadb.service Configurare MariaDB con le impostazioni di sicurezza necessarie per l'accesso in modalità sicura (ivi inclusa la password di root): > mysql_secure_installation Configurare le impostazioni di MariaDB utilizzando la relativa guida sul sito di NextCloud. Installare redis e impostarlo come servizio in esecuzione automatica all'avvio del sistema: > yum install -y redis > systemctl enable redis.service > systemctl start redis.service Scaricare e installare l'ultima versione dell'archivio di NextCloud dalla pagina di download del sito ufficiale (Server > Download > Archive File for server owners), in formato tar.bz2 oppure zip. Scompattare l'archivio all'interno di una cartella, ad es. /var/www/nextcloud/. Assegnare i permessi necessari per l'accesso dell'utente e del gruppo relativi a NGINX (nel caso di esempio, nginx e www): > chown -R nginx:www /var/www/nextcloud Impostare il file di configurazione di NGINX /etc/nginx/nginx.conf con i parametri necessari per gestire le richieste HTTP in ingresso dirette verso la URL che si desidera associare all'applicazione web di NextCloud, ad es. nextcloud.mydomain.com: upstream php-nextcloud { server unix:/run/php7-fpm-nextcloud.sock; } server { listen 80; listen :80; server_name nextcloud.mydomain.com; return 301 https://$server_name$request_uri; } server { listen 443 ssl http2; listen :443 ssl http2; server_name nextcloud.mydomain.com; root /var/www/nextcloud/; location / { add_header X-Content-Type-Options nosniff; add_header X-XSS-Protection "1; mode=block"; add_header X-Robots-Tag none; add_header X-Download-Options noopen; add_header X-Permitted-Cross-Domain-Policies none; location = /robots.txt { allow all; log_not_found off; access_log off; } # The following 2 rules are only needed for the user_webfinger app. # Uncomment it if you're planning to use this app. #rewrite ^/.well-known/host-meta /public.php?service=host-meta last; #rewrite ^/.well-known/host-meta.json /public.php?service=host-meta-json # last; location = /.well-known/carddav { return 301 $scheme://$host/remote.php/dav; } location = /.well-known/caldav { return 301 $scheme://$host/remote.php/dav; } # set max upload size client_max_body_size 512M; fastcgi_buffers 64 4K; # Enable gzip but do not remove ETag headers gzip on; gzip_vary on; gzip_comp_level 4; gzip_min_length 256; gzip_proxied expired no-cache no-store private no_last_modified no_etag auth; gzip_types application/atom+xml application/javascript application/json application/ld+json application/manifest+json application/rss+xml application/vnd.geo+json application/vnd.ms-fontobject application/x-font-ttf application/x-web-app-manifest+json application/xhtml+xml application/xml font/opentype image/bmp image/svg+xml image/x-icon text/cache-manifest text/css text/plain text/vcard text/vnd.rim.location.xloc text/vtt text/x-component text/x-cross-domain-policy; # Uncomment if your server is build with the ngx_pagespeed module # This module is currently not supported. #pagespeed off; location / { rewrite ^ /index.php$uri; } location ~ ^/(?:build|tests|config|lib|3rdparty|templates|data)/ { deny all; } location ~ ^/(?:\.|autotest|occ|issue|indie|db_|console) { deny all; } location ~ ^/(?:index|remote|public|cron|core/ajax/update|status|ocs/v|updater/.+|ocs-provider/.+)\.php(?:$|/) { fastcgi_split_path_info ^(.+\.php)(/.*)$; include fastcgi_params; fastcgi_param SCRIPT_FILENAME $document_root$fastcgi_script_name; fastcgi_param PATH_INFO $fastcgi_path_info; #fastcgi_param HTTPS on; #Avoid sending the security headers twice fastcgi_param modHeadersAvailable true; fastcgi_param front_controller_active true; fastcgi_pass php-nextcloud; fastcgi_intercept_errors on; fastcgi_request_buffering off; } location ~ ^/(?:updater|ocs-provider)(?:$|/) { try_files $uri/ =404; index index.php; } # Adding the cache control header for js and css files # Make sure it is BELOW the PHP block location ~ \.(?:css|js|woff|svg|gif)$ { try_files $uri /index.php$uri$is_args$args; add_header Cache-Control "public, max-age=15778463"; add_header X-Content-Type-Options nosniff; add_header X-XSS-Protection "1; mode=block"; add_header X-Robots-Tag none; add_header X-Download-Options noopen; add_header X-Permitted-Cross-Domain-Policies none; # Optional: Don't log access to assets access_log off; } location ~ \.(?:png|html|ttf|ico|jpg|jpeg)$ { try_files $uri /index.php$uri$is_args$args; # Optional: Don't log access to other assets access_log off; } } } Ovviamente, trattandosi di una procedura fortemente dipendente dalle caratteristiche hardware e software della macchina server, è probabile qualcuno dei passaggi sopra indicati vada rivisto, modificato o ampliato di conseguenza. Ci siamo inoltre occupati solo dei passaggi strettamente necessari per l'installazione di NextCloud e dei package strettamente necessari, omettendo alcuni importanti aspetti come la configurazione di sendmail (fondamentale per l'invio di e-mail da parte di NextCloud), il fine-tuning dei parametri di configurazione presenti nei file php.ini (PHP) e my.cnf (MariaDB), e tutta una serie di altre attività necessarie per il corretto funzionamento del servizio. Se riscontrate problemi in fase di installazione vi invitiamo a farcelo sapere nei commenti in fondo a questo articolo, così da poter aggiungere ulteriori dettagli a quanto scritto sopra e/o fornirvi i suggerimenti del caso.

Casi d'uso

Quando si ha l'esigenza di archiviare o condividere dei file e si dispone della possibilità di utilizzare una istanza privata di NextCloud è importante porsi una domanda preliminare: l'utilizzo di tale strumento è realmente giustificato oppure no? Dare una risposta affermativa a questa domanda significa aver valutato con ragionevole certezza che non siano disponibili metodi di condivisione oggettivamente più sicuri, controllati e pratici per svolgere la medesima attività: ad esempio, se si ha bisogno di condividere alcuni documenti con un collega all'interno della stessa infrastruttura di rete aziendale, l'utilizzo di NextCloud potrebbe essere meno ottimale rispetto a una semplice cartella di rete... a meno che non vi siano degli evidenti e oggettivi vantaggi a sostegno della prima ipotesi, come ad esempio la necessità di rendere i suddetti documenti accessibili anche dall'esterno e/o da destinatari al di fuori della rete aziendale. Insomma, è sempre molto importante analizzare con attenzione il caso specifico così da poter prendere la decisione più adeguata alle proprie esigenze. Nella maggior parte dei casi, per la nostra esperienza d'uso, l'utilizzo di NextCloud come strumento di memorizzazione e/o condivisione dei file si rivela ideale quando si ha almeno una delle seguenti esigenze: Creazione di archivi accessibili da utenti sia interni che esterni alla rete aziendale. Condivisione e/o ricezione di file con utenti sia interni che esterni alla rete aziendale. Superamento di alcuni limiti imposti dal file-system, come ad esempio la necessità di effettuare catalogazioni ulteriori e superiori a quelle mono-direzionali previste con il semplice folder nesting previsto dai sistemi di memorizzazione tradizionali, come l'utilizzo di tag, categorie, metadati e altre tassonomie. Come si può facilmente vedere due esigenze su tre prevedono la presenza di un interlocutore esterno, in assenza del quale la scelta strategica di implementare soluzioni di Cloud Storage on-premise come NextCloud potrebbe avere poco senso. A conti fatti, è probabile che, nella maggior parte dei casi, utilizzeremo NextCloud in quel sottoinsieme di casi particolari in cui abbiamo bisogno di condividere i nostri file con persone che non hanno la possibilità di accedere ai suddetti servizi: è il caso, ad esempio, di clienti e fornitori, ma anche di colleghi che non si trovano sul posto di lavoro, non hanno la possibilità di collegarsi da remoto e/o hanno necessità di dover accedere a un file da una postazione diversa o non opportunamente configurata. Condivisione interna o tramite link? Le principali funzionalità di NextCloud che andremo ad approfondire nei paragrafi successivi sono quelle relative all'archiviazione e alla condivisione di file, ovvero la possibilità di memorizzare nell'archivio uno o più file e impostare le modalità di accesso agli stessi attraverso le due principali modalità di condivisione supportate: il sistema di permessi e ruoli, per condividere file e cartelle con altri utenti dotati di un account su quello stesso server NextCloud. il sistema di condivisione tramite link, per condividere file e cartelle con tutti gli utenti "anonimi", ovvero chiunque non possieda un account. Prima di procedere con la guida, è opportuno comprendere è che le due modalità di condivisione di cui sopra sono, o per meglio dire dovrebbero essere, mutuamente esclusive: nessun utente che disponga di un account di accesso al nostro server NextCloud dovrebbe ricevere una condivisione tramite link, che è per sua natura un sistema meno sicuro e più limitato; al tempo stesso, non è pensabile creare un account di accesso personale a tutti gli utenti "anonimi" ai quali inviamo saltuariamente dei file. Anche in questo caso è dunque opportuno effettuare una attenta analisi al fine di determinare quale tipologia di accesso è opportuno prevedere per ciascuno dei nostri potenziali utenti.

Funzionamento

Il funzionamento di NextCloud è piuttosto semplice grazie alla pratica interfaccia web, che ricorda piuttosto da vicino quella di servizi come Dropbox e Google Drive. Una volta effettuato il login ci si troverà di fronte alla schermata principale, che contiene già una panoramica dei file e delle cartelle alle quali è possibile effettuare l’accesso.

Ovviamente, saranno visualizzate soltanto le cartelle e i file ai quali l’account a noi assegnato è stato autorizzato ad accedere in lettura e/o in scrittura.

Caricare file e cartelle

L’utilizzo principale di NextCloud consiste nel caricamento (upload) di uno o più file e/o cartelle da rendere disponibili, come detto più volte, tramite condivisione interna o link. Per ragioni di praticità, quando l'intento è quello di condividere file tramite link, è consigliabile creare una nuova cartella, all’interno della quale potremo caricare uno o più file da condividere: tale cartella sarà l’oggetto che andremo poi a condividere con il destinatario, che potrà accedere anche a tutti gli oggetti (file e/o sottocartelle) ivi contenuti, anche se caricati in un secondo tempo, nonché - se imposteremo la cartella in modo particolare, come avremo modo di vedere tra poco - inviare file. Creazione di una nuova cartella Per creare una nuova cartella occorre posizionarsi all’interno della cartella radice, ovvero la cartella che farà da "parent" alla nostra nuova creazione. Inutile dire che, come avviene in tutti gli archivi, è opportuno darsi fin da subito (a se stessi e ai propri collaboratori) delle regole, o per meglio dire delle naming convention, adeguate: ad esempio, noi abbiamo deciso di creare tutte le cartelle contenenti file condivisi tramite link all'interno di una cartella radice apposita, denominata /Shared/, così da renderli distinti dai file ad uso interno. Le nostre cartelle condivise saranno dunque: /Shared/Mail_2387/ /Shared/Date_201907171621/ /Shared/ID_12123488/ /Shared/Orizzonti/Ref_2218277127/ E così via. In alcuni casi, come possiamo vedere, abbiamo creato una o più sottocartelle all'interno della cartella radice dedicate a clienti, commesse o progetti particolarmente importanti: se i file che dobbiamo condividere sono collegati a quel raggruppamento andremo a creare la nuova cartella all’interno di quella sottocartella, così da evitare di creare tutto nella cartella principale. Una volta all’interno nella cartella radice (o nella sottocartella) scelta, possiamo creare la nuova cartella facendo click sul pulsante “+” presente in alto e selezionare “Nuova cartella”.

Anche per quanto riguarda il nome da assegnare alla nuova cartella è senz'altro opportuno stabilire alcuni criteri di naming, soprattutto se la piattaforma sarà utilizzata da più persone. Queste sono le regole che noi abbiamo deciso di adottare: Se esiste un riferimento univoco riconducibile alla condivisione (ID pratica, ID cliente, etc.), utilizzare “_”, ad esempio ID_138188139, Ryadel_1249848 e via dicendo. In assenza di un nome applicativo, utilizzare il nome del cliente (es. /Orizzonti_23804/) o un generico “Ref”. In tutti gli altri casi, utilizzare “Date_yyyyMMddHHmm”, (anno, mese, giorno, minuti, secondi), ad esempio, Date_201907161358 per una cartella creata il 16 luglio 2019 alle ore 13:58. Ovviamente si tratta soltanto di convenzioni, che possono essere modificate o adattate alle proprie esigenze: l'importante è concordare criteri di naming uniformi e predeterminati, al fine di ridurre la confusione all’interno dell’archivio. In ogni caso, per ovvie ragioni di rispetto della privacy, consigliamo di non utilizzare dati personali (es. il nome, il cognome, il telefono o l’e-mail di un determinato utente o assistito) all’interno del nome della nuova cartella. Caricamento dei file Una volta creata la nuova cartella, è possibile caricare uno o più file (o altre cartelle) al suo interno tramite drag-and-drop dal desktop (o da Esplora Risorse) alla finestra di NextCloud all’interno del browser, oppure utilizzando l’apposita funzione Carica file accessibile mediante il pulsante “+” in alto.

Condivisione di file e cartelle

Nel momento in cui creiamo una nuova cartella, quest'ultima erediterà i permessi di condivisione dalla sua cartella madre: questo significa che sarà visualizzabile e/o modificabile da tutti gli utenti (interni o esterni) per i quali è stata attivata una impostazione di condivisione sulla cartella contenitrice. Le cartelle create nella root non ereditano alcun permesso di condivisione e non saranno quindi visibili ad alcuno, se non a noi. Condivisione ad uso interno In conseguenza di questo detto nel paragrafo precedente possiamo facilmente capire come, nella maggior parte dei casi, quando si crea una cartella destinata all'uso interno questa risulterà già condivisa nel modo corretto, ereditando le impostazioni di condivisione dalla cartella madre... a meno che non sia creata nella root. Ad ogni buon conto, per assegnare permessi dedicati a una cartella occorre effettuare i seguenti passaggi: Fare click sull’icona della condivisione presente a destra del nome della cartella: questa azione provocherà l'apertura di un pannello contestuale sulla parte destra dello schermo. All'interno del nuovo pannello, selezionare il tab Condivisione, quindi utilizzare la casella di testo presente per cercare utenti e/o gruppi con i quali condividere la cartella.

Opzioni di condivisione interna Una volta attivata la condivisione interna è opportuno fare click sulla three-dots icon posta alla destra della checkbox stessa: una volta fatto si aprirà un secondo pannello contenente una serie di opzioni di condivisione aggiuntive. Tramite queste opzioni è possibile impostare le modalità di accesso alla cartella (o al file) dell'utente che abbiamo autorizzato.

Le opzioni di condivisione interna sono abbastanza auto-esplicative: oltre al permesso di lettura, ovvero di accesso e download del file, è possibile assegnare una serie di permessi ulteriori: creare (caricare) nuovi file/cartelle, cambiare(modificare) ovvero eliminare file e cartelle preesistenti, ri-condividere la cartella e/o il suo contenuto ad altri utenti interni e/o esterni, e così via. C'è anche la possibilità di inserire una nota per il destinatario, che sarà visualizzata all'accesso di quest'ultimo. L'opzione più interessante, su cui vale la pena spendere qualche parola, è quella che consente di impostare una data di scadenza. Per impostazione predefinita, le condivisioni interne hanno durata illimitata: questo singnifica che l'utente, una volta abilitato all'accesso (o alla modifica) della cartella, manterrà questo privilegio a tempo indeterminato. L'opzione imposta una data di scadenza consente di modificare questo assunto, assegnando una durata temporale alla condivisione. Si tratta di una funzionalità che, nel caso delle condivisioni interne, rischia di trovare scarsa applicazione pratica, ma - come avremo modo di vedere tra poco - risulterà fondamentale in ottica di condivisione esterna o tramite link. Condivisione tramite link Per condividere la cartella tramite link la procedura è sostanzialmente la medesima, con una singola differenza: Fare click sull’icona della condivisione presente a destra del nome della cartella: questa azione provocherà l'apertura di un pannello contestuale sulla parte destra dello schermo. All'interno del nuovo pannello, selezionare il tab Condivisione, quindi abilitare la checkbox Condividi collegamento.

Opzioni di condivisione tramite link Una volta attivata la condivisione, interna o esterna che sia, è opportuno fare click sulla three-dots icon posta alla destra della checkbox stessa: una volta fatto si aprirà un secondo pannello contenente una serie di opzioni di condivisione aggiuntive. Tramite queste opzioni è possibile: Copiare l’URL del collegamento, funzionalità indispensabile per poterlo comunicare all’utente. Impostare la modalità di condivisione. Il valore predefinito è Sola Lettura, che consentirà al destinatario del link di visualizzare i file contenuti nella cartella ed effettuarne il download, ma non di cancellarli, modificarli o aggiungerne di nuovi. Nell’eventualità in cui volessimo consentire queste operazioni, è possibile selezionare Consenti il caricamento e la modifica oppure Rilascia file (solo caricamento). La prima alternativa può essere utile se si desidera che l’utente esterno possa inviarci nuovi file e/o modificare i file che intendiamo mettergli a disposizione, la seconda se vogliamo limitarlo alla sola aggiunta di nuovi file, impedendogli la modifica di quelli già presenti / già caricati. Impostare una password. Questa funzione riveste un’importanza fondamentale: in mancanza di una password di accesso, chiunque dovesse entrare in possesso del link di condivisione potrà automaticamente avere accesso ai file, con le modalità previste dall’opzione precedente (ovvero, potenzialmente, anche con possibilità di effettuare upload e modifiche). Per ovviare a questo problema suggeriamo di impostare sempre una password di accesso alla condivisione tramite questa opzione, avendo cura di crearne una avente complessità adeguata (min. 8 caratteri con maiuscola, minuscola, numero e carattere speciale). Impostare una data di scadenza. Per impostazione predefinita i link univoci creati per la condivisione hanno durata illimitata: ovviamente questo non è ideale nella maggior parte dei casi, visto che si tratta di condivisioni che si suppone esauriscano la loro funzione nel giro di pochi giorni/settimane. Per questo motivo è imperativo impostare una data di scadenza, con durata variabile a seconda dei casi (1, 10, 30, 60, 90 o 180 giorni). Allo scattare della data di scadenza impostata il collegamento per la condivisione sarà automaticamente rimosso e quindi non sarà più possibile accedere al file con quella modalità: al tempo stesso, il file non sarà eliminato. Si tratta quindi di una retention policy che ha effetto solo sull’accesso ai dati, non sulla conservazione dei dati stessi.

Applicazioni

Tra le funzionalità più interessanti che abbiamo trovato esplorando le moltissime funzionalità offerte NextCloud vi è il pannello Applicazioni, un vero e proprio elenco di moduli aggiuntivi che funzionano in modo simile alle estensioni di Google Chrome e/o ai plugin di Wordpress: ciascuna applicazione consente di arricchire la propria istanza NextCloud con funzionalità uniche, alcune delle quali estremamente potenti.

Tra le molte Applicazioni che abbiamo provato, suggeriamo di dare un'occhiata alle seguenti: Files automatic tagging, che consente di assegnare dei tag (etichette, nella traduzione italiana) a seconda del nome, tipo e posizione dei file che vengono caricati. External storage support, che consente di associare sistemi e servizi di data storage esterni. Default encryption module, che abilita all'utilizzo di diverse funzionalità di data encryption. Retention, che può essere utilizzata per impostare delle regole di eliminazione dei file e delle cartelle sulla base di vari parametri. Per ovvie ragioni di tempo e di spazio non riteniamo opportuno approfondire queste applicazioni all'interno di questo articolo: ci limiteremo ad analizzarne due, che ci sono sembrate particolarmente interessanti: Files automatic tagging e Retention, che - se utilizzate insieme - consentono di impostare delle regole di retention che possono rivelarsi particolarmente utili per il rispetto del considerando 39 del GDPR: Da qui l'obbligo, in particolare, di assicurare che il periodo di conservazione dei dati personali sia limitato al minimo necessario. I dati personali dovrebbero essere trattati solo se la finalità del trattamento non è ragionevolmente conseguibile con altri mezzi. Onde assicurare che i dati personali non siano conservati più a lungo del necessario, il titolare del trattamento dovrebbe stabilire un termine per la cancellazione o per la verifica periodica.

Impostare una Retention tramite le Etichette

La possibilità di impostare le etichette, ovvero dei meta tag che consentono di classificare i file, è una funzionalità di base di NextCloud. L'applicazione Retention, una volta installata e attivata, consente di creare delle regole per pianificare l'eliminazione automatica di file e/o cartelle che presentino determinate caratteristiche - tra cui la presenza di determinate etichette. L'applicazione Files automatic tagging, anch'essa da installare e attivare, consente infine di assegnare automaticamente delle etichette al momento del caricamento di file e/o cartelle che presentino determinati requisiti. Unendo queste tre cose siamo riusciti a impostare una vera e propria policy di retention per i file e le cartelle caricate all'interno della cartella radice /Shared/, ovvero - per intenderci - alle copie dei file che intendiamo condividere tramite link. Trattandosi di copie, quindi di duplicati che è opportuno eliminare quando cessano di avere la loro utilità, questi dati costituiscono le cavie perfette per il nostro test. La prima cosa che abbiamo fatto è creare le seguenti etichette pubbliche: Eliminare dopo 10 giorni Eliminare dopo 30 giorni Eliminare dopo 60 giorni Eliminare dopo 90 giorni Eliminare dopo 180 giorni Per farlo, è sufficiente andare nelle Impostazioni > Amministrazione > Flusso di Lavoro e utilizzare il mini-form presente in alto:

Una volta fatto questo, ci siamo spostati nel pannello inferiore della sezione flusso di lavoro e abbiamo configurato delle regole di retention basandoci sulla presenza delle etichette appena create, nel seguente modo:

Come si può vedere, le regole di eliminazione che abbiamo impostato corrispondono esattamente a quanto riportato nel nome di ciascuna etichetta: in conseguenza di ciò, per attribuire un periodo di retention alla nostra cartella (e a tutto il suo contenuto) non dovremo fare altro che assegnare alla cartella stessa una delle etichette di retention che abbiamo definito. Per assegnare un'etichetta a una cartella, è sufficiente fare click sull’icona delle Etichette, presente nella parte in alto a destra del panello di condivisione e selezionare l’etichetta corrispondente.

In buona sostanza, quella che abbiamo creato è una vera e propria data retention policy completamente automatizzata: con un pò di pazienza (e data-entry) è possibile creare un numero di etichette ancora maggiore e gestire politiche di cancellazione anche più in là nel tempo (ad esempio in anni), così da poter gestire la maggior parte dei dati trattati. Ecco dunque un ulteriore valido motivo per utilizzare NextCloud come sistema di archiviazione! Inutile dire che l'utilizzo consapevole e sistematico di questa data retention policy diventa particolarmente importante per le cartelle che si creano per la condivisione tramite link, anche in presenza della data di scadenza: quest'ultima, infatti, se pure impedisce all'utente oggetto della condivsione di accedere ulteriormente ai file, non risolve il problema della retention. E' dunque opportuno utilizzare entrambe le funzionalità, magari avendo cura di impostare una durata superiore di qualche giorno/settimana a quella indicata nella data di scadenza del link di condivisione: in tal modo, qualora il destinatario del link avesse bisogno di qualche giorno in più, sarà possibile prorogare la data di scadenza del link anche a link scaduto, prima che il piano di retention abbia fisicamente eliminato i file.

Conclusioni

Per il momento è tutto: ci auguriamo che questa panoramica su NextCloud possa essere utile a quanti hanno intenzione di dotare la propria infrastruttura di un sistema di Cloud Storage on-premise, che a fronte di un investimento assolutamente contenuto (un server Linux, una VM o una Docker Image) consente di avere accesso a moltissime funzionalità interessanti per l'archiviazione e la condivisione interna ed esterna di qualsiasi tipo di file. Alla prossima, e... buona condivisione! Read the full article

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